One of the most iconic depictions of Mormon scripture, it is easy to be overly familiar with this work, dismissing Teichert’s remarkable original conception and execution. Perhaps no other artist before Teichert explored LDS scripture with such ambition. Using her training at the Art Institute of Chicago and, then, the Art Students League of New York, Teichert painted hundreds of scenes from LDS history and scripture in her small Wyoming ranch. Unlike other Christian artists who borrowed from widely-known iconography used over generations, Teichert had little in the way of pre-conceived or established aesthetics to work with or against in her Book of Mormon scenes. Her more than 300 paintings continue to be a rich resource and standard for many Mormon artists.

Collection of Springville Museum of Art

ARNOLD FRIBERG

Los Angeles Temple

Gouache on Paper

40 x 60 in.

Although unrealized, the sculpture in this work is arguably among the most ambitious, complex, and uniquely Mormon works of art conceptualized in Church history. This painting was commissioned by the Church Architectural Department from the artist during the planning and construction of the Los Angeles Temple. It is signed by Friberg, who did the figurative work; the artist Robert L. Shepherd, who sketched the building and grounds; and Edward O. Anderson, Church Architect. The focus of the work is an ambitious full-relief sculptural program envisioned for the façade of the Temple, prominently placed beside the entrance. The relief is divided into the New World and Old World, with the patriarchs of each Dispensation, as revealed to Joseph Smith, Jr..

Collection of The Church of Jesus Christ of Latter-day Saints

ARNOLD FRIBERG

Head of Christ

Graphite on Paper

8 x 10 in.

During the commission for his twelve Book of Mormon paintings, Friberg often debated with President David O. McKay regarding the appropriateness of overtly depicting Jesus Christ. According to the artist, President McKay worried “too frequent repetition” of the Savior’s image should be avoided. In his depiction of Christ arriving in the Americas, the two compromised: Christ would be “suggested” rather than fully portrayed.

$6,000

ARNOLD FRIBERG

Pharaoh’s Dream

Graphite on Paper

8 ½ x 11 in.

Friberg’s commission to work on twelve Book of Mormon paintings was interrupted by an invitation to help with the Hollywood blockbuster, The Ten Commandments. This is one of several sketches produced by Friberg during his collaboration with DeMille and Academy-Award-Winning costume designer Edith Head.

$5,000

ARNOLD FRIBERG

Apostles at Christ’s Ascension

Graphite on Paper

12 x 17 in.

This sketch for an unrealized painting shows Friberg’s playing with familiar figures and poses. Here Christ stands in a pose that resembles that used to show his wounds, similar to that adopted by Bertel Thorvaldsen in his Christus (1838). After the 1964 World’s Fair, where the Church had prominently featured a replica of the statue in the Mormon Pavilion, Friberg experimented with the pose in several subjects, including the first version of Christ’s Arrival in the Americas, conceived for his Book of Mormon Commission.

$15,000

ARNOLD FRIBERG

Apostles at the Last Supper

Graphite on Paper

9 x 11 in.

This is an esquisse (i.e. preparatory sketch) created by Friberg as part of a multi-step process to produce a final study for a painting. Friberg’s working methods were developed at the Art Students League of New York, which followed a classical model of training, where each phase of making a work pushed an artist to explore composition and expression to its fullest. This drawing is for an unrealized work depicting the Last Supper, a subject Friberg first began exploring in parallel to his Book of Mormon paintings.

$12,000

ARNOLD FRIBERG

Sacrifice of Isaac

Graphite on Paper

12 x 17 in.

After working on the Book of Mormon paintings, Friberg explored the possibility of illustrating the Old and New Testaments. This is one of several unrealized subjects Friberg explored. In doing so, Friberg often looked to Old Masters who tackled the same subject; but, would employ imagery and emphasis on figures and themes that were unique to LDS doctrine.

$15,000

ARNOLD FRIBERG

Baptism of Christ

Graphite on Paper

9 x 15 in.

This is among the first baptism scenes of Christ portrayed by an LDS artist. A common subject in Christian art, Latter-day Saints have a unique interpretation of Christ’s baptism that emphasizes the separate and distinct natures of the Godhead. Here, Friberg, always keen to emphasize the human figure, shows a mortal Christ emerging from the River Jordan.

$10,000

TOM LOVELL

Moroni Appearing to Joseph Smith

Oil on Linen

14 ½ x 10 in.

Lovell, together with Harry Anderson and Norman Rockwell, was considered one of the nation’s greatest illustrators, at a time when there was little distinction between fine art and illustration. An admirer of Old Masters and trained to draw and paint the human figure, Lovell made a career working for the Saturday Evening Post and Week magazines, among others. In 1973, The Church commissioned Lovell to do a series of works depicting the coming forth of the Book of Mormon for the 1974 Spokane World’s Fair.

$30,000

GARY ERNEST SMITH

Martyrdom

Oil on Linen

20 x 30 in.

With works in more than 22 museums, Smith’s painting of rural landscapes, figures, and farmlands have made him one of the West’s most celebrated artists. Smith is an original member of the Mormon Art & Belief Movement. In addition to Western art, he has consistently depicted important subjects from Church history, scriptures, and produced work for Temples. This is one of several versions of a scene originally commissioned by the Church for use in describing the Martyrdom of Joseph and Hyrum Smith, as described in Doctrine & Covenants 135.

$12,000

DENNIS SMITH

The Observatory

Oil on Panel

42 x 64 in.

The foundation of the painting is really the landscape. In the background I have chosen to look south across the Salt Lake valley at a moment soon after the Mormon Pioneers had settled there. This displays a broad and open vision of a newly inhabited horizon. Central in the image is State Street which over time, became the spine of Utah’s geography. Wagons move back and forth, building the community like ants in an ant hill. New trees dot the landscape, a beginning of the symbolic Lombardy poplars which over time became iconic in Utah. The SL temple is being built. The Tabernacle is completed. Homes are beginning to grow outward from the center. In the foreground three trees, older than the settlement itself, rise through a firmament of sunset and sky. The oldest, has been taken over by young kids and built into a tree house, their own vision of the future. On either side are two trees that are possibly sprouts from the older. They stand almost as a presidency or quorum of awareness of the landscape below. In the upper left-hand corner, a moon hints of evening and introduces the viewer into the small panel above, where beyond the borders of the paining, a rich cosmos of stars reminds us of worlds beyond this new earthly beginning.

The Frame around the painting becomes significant in that it provides not only a presentation but a hint of symbolism as well. The separation of our world with whatever other worlds exists is suggested in the edges of the frame itself. The columns on either side reflect a hint of architecture, structure, and the foundations of civilization.

$8,900

TREVOR SOUTHEY

Creation

Oil on Panel

48 x 48 in.

Trevor Southey is a native of Rhodesia (Zimbabwe), Africa, born in 1940 of immigrant European ancestry. His interest in art developed at an early age when rheumatic fever confined him to bed for months at a time, and often, his only companions were a pen, pencil, and paper.

Southey attended art schools in England and South Africa before coming to the United States in 1965 to attend Brigham Young University (BYU). After receiving his degrees, he joined the BYU art faculty. While teaching there, he became a founding member of the highly significant Mormon Art and Belief Movement (1966-1976). Southey personally worked to establish a “Mormon Art” form through his use of Latter-day Saint theology. In 1977, he decided to dedicate his full energies to an art career, resigned from the faculty at BYU and, in 1982, established a studio in Salt Lake City.

As a Figurative-Realist, Southey, like the Renaissance painters, uses the physical body to portray the soul. Rather than merely depicting the figure, he unconsciously evokes the spirituality of the human form through his use of other-worldly, everyman figures, combining realism with personal allegorical content.

Collection of Gary Ernest Smith

ED FRAUGHTON

Bringing Life to the Desert

Bronze

23 x 12 x 10 in.

This was the artist’s submission for the recent contest to create a figure of Brigham Young for the State Capitol. Fraughton was not surprised that his unconventional image of the Govenor and President of the Church was not chosen, because “I wanted to show Brigham as the hard-working craftsman that he was when the Saints first entered the Salt Lake Valley.” Fraughton is among the most prolific and successful monument sculptors of the 20th century. He has won award from the National Academy of Design, National Sculpture Society, and Academy of Western Art.

$8,000

ED FRAUGHTON

Spencer W. Kimball

Bronze

23 x 13 x 8 in.

Created for an unrealized monument, this work was commissioned by the Church from Fraughton and depicts President Kimball caring for the Church’s children. Fraughton is among the most prolific and successful monument sculptors of the 20th century. He has won awards from the National Academy of Design, National Sculpture Society, and Academy of Western Art.

$8,000

ED FRAUGHTON

Finding the Way

Bronze

28 ½ x 21 ¾ x 13 ¾ in.

This is a small-scale model of a larger monument located on 2100 South and 2300 East, near the mouth of Parley’s Canyon. It depicts the Church leader and engineer Parley P. Pratt, who surveyed and planned the road the runs through Parley’s Canyon, his namesake. Fraughton is among the most prolific and successful monument sculptors of the 20th century. He has won award from the National Academy of Design, National Sculpture Society, and Academy of Western Art.

$10,000

BRUCE HIXSON SMITH

The Reconciliation of Thomas

Oil on Linen

53 x 32 ½ in.

My paintings are about art, which is in a constant state of flux. Modernism did away with the old attitudes and ideas about art, but now Modernism itself is over. I seek to incorporate some of the older attitudes about art and still have my work retain some of the brand new things Modern Art tried to do, including being a means of “ditching” the old. I have a real allegiance to what art was prior to Modernism, which I believe is common. What isn’t common is also having a feeling for Modernism. Art before Modernism has value today, but that Modernism has elements of worth as well. The problem is to mix those qualities.

The open-endedness of my work is certainly a Modernist trait; conversely, over the last few years, I have configured many of my paintings in ways that harken back to Italian religious works of the Renaissance.

Collection of Mr. Jeff Robert

DALE FLETCHER

Adam-ondi-Ahman

Oil on Board

17 x 42 in.

Fletcher was a landscape painter who earned a Masters of Arts from the University of California in Berkeley in 1956. He joined the art faculty at BYU in 1965 and taught there until he unexpectedly resigned to pursue a cult of pyramidology. In the late 1970s Fletcher was appointed to the directorship of BYU's art gallery. Both as a professor and curator, he influenced a generation of artists, encouraging them to pursue new ways of depicting subjects important to the LDS faith.

Collection of Dennis Smith

WULF BARSCH

I Tego Arcana Dei

Oil on Linen

34 x 30 in.

Wulf Barsch was born in Reudnitz, Bavaria in 1943. A painter and printmaker, Barsch’s metaphorical painting interprets mystical and spiritual themes. He lives in Boulder, Utah.

Barsch graduated from Werkkenschule in 1968. He began his art training in Germany with the master students of Paul Klee and Wassily Kadinsky. Barsch became a member of The Church of Jesus Christ of Latter-day Saints in 1966. He received his MA in printmaking from Brigham Young University in 1971 and his MFA in painting from BYU in 1972. He joined the BYU faculty in 1972.

Barsch won the American Academy in Rome Fellowship in Painting in 1975. He won the Western States Foundation Printmaking Award in 1980. His work was included in the 38th Corcoran Biennial. Other awards include the Printmaking Award from the Western States Art Foundation, an award for Excellence in Art from the Snowbird Institute, and the directors Award from the Springville Museum of Art.

Collection of Dr. Rita Wright

WILLIAM WHITAKER

Insight

Oil on Panel

12 x 15 in.

Perhaps the most admired and influential portraitist of his generation with an international reputation, Whitaker has mentored a generation of figurative artists. His dedication to his craft is absolute, and evident in this portrait of his wife.

Collection of the artist

GARY KAPP

Tarry A Little Longer

Oil on Canvas

30 x 40 in.

"I have always loved the story of Christ's visit to America. I have painted many subjects from 3 Nephi and in this scene I have tried to express the great love the people felt for the Savior and their reluctance to let him leave them."

3 Nephi 17:5

$6,000

ROBERT T. BARRETT

He’ll Hear My Prayer

Oil on Linen

36 x 24 in.

The painting is entitled "Prayer in the Desert" or "He'll Hear My Prayer." It represents a younger African woman who has lost her way in a desert and has also run out of water. As she prays for help, there is both the cosmos above and a light on the horizon.

$10,000

SIMON DEWEY

Let Your Light So Shine

Oil on Linen

34 x 24 in.

The example we set may be the only gospel message that some people ever receive. When we think of our example to others in those terms, we can see why the Savior associated light with this principle. I hoped to show that even children can be taught that the way they live their lives can be a significant missionary tool. It is quite a challenge to photograph models using candlelight, but the play of shadows across the forms can be very visually appealing. It is not typical in paintings for the actual light source to be visible, but I felt that seeing the small flame illuminate the scene might remind us of the Light of Christ filling the universe with His influence.

$59,950

JAMES C. CHRISTENSEN

Atonement

Oil on Canvas

48 x 48 in.

Although best known for his intricate fantasy work and Shakespeare illustrations, Christensen was equally capable of composing monumental religious works using the lexicon of Old Masters. Christensen was born and raised in Culver City, California. He studied first at Santa Monica City College, then UCLA, and finally BYU, where he received a Masters in Fine Art. Here he captures a scene from the Garden of Gethsemane, where Jesus Christ drinks the “bitter cup”(Doctrine & Covenants 19:18; Luke 22:42)

Collection of the Artist’s Wife

BRIAN KERSHISNIK

The Massacre of the Innocents

Oil on Panel

41 x 88 in.

With his unique, contemporary style the painter re-images a familiar Old-Master subject: the killing of innocent children in the town of Bethlehem by Herod’s troops. Kershisnik had a peripatetic life — he lived in Angola, Thailand, Pakistan, and Denmark and the UK — eventually settling in Kanosh, Utah where he has a successful career as both a painter and Professor at BYU. His scene takes into accountthe terrible consequences of the killing of children for both the mothers and the soldiers.

Collection of Springville Museum of Art

LIZ LEMON SWINDLE

Oh, My Poor Dear Brother Hyrum

Oil on Canvas

30 x 40 in.

This is the first painting I did of the Prophet Joseph Smith. When I started this painting I thought I knew who Joseph Smith was. Looking back, I realize I knew things about him, but I did not know him.

I started seeing the human side of Joseph when I understood he cared more for his brother’s life than his own. When Joseph decided to return to Carthage and stand trial, Hyrum insisted on coming with him. Joseph must have known he was going to die; I am sure he wanted to protect Hyrum. But Hyrum followed Joseph in death just as he had followed him in life.

Of this moment John Taylor said:

“Immediately, when the ball struck him, [Hyrum] fell flat on his back, crying as he fell, ‘I am a dead man!’ He never moved afterwards. I shall never forget the deep feeling of sympathy and regard manifested in the countenance of Brother Joseph as he drew nigh to Hyrum and leaning over him exclaimed, “Oh! My poor, dear brother Hyrum!”

What a price was paid for the gospel. May we never forget.

$98,000

JOSEPH BRICKEY

Children of the Light

Oil on Linen

60 x 60 in.

Jesus Christ is “the light of the world.” (John 8:12) Each child depicted here represents different ways that we seek truth and allow it to magnify the divine light within us. The young boy in the back represents being on the verge of conversion, weighing His words in a spirit of real intent. The girl on the right demonstrates the precious gift of receiving the testimony of Christ. The infant expresses our need to be nurtured in love. The last two children, both looking with adoration at the Lord, represent two complementary ways of growing in light and truth—prayer and the study of the word. “While ye have light, believe in the light, that ye may be the children of light.” (John 12:36)

$60,000

GREG OLSEN

Even A Sparrow

Oil on Linen

24 x 30 in.

"As I look at the intricate design of these little sparrows, experience tells me that where there is a design, there is a designer! It is a comforting thought to consider that somewhere there is a Creator who is aware of and has love for even the least of His creations. There is incredible intimacy in the vastness of this thought.”

Private Collection

WALTER RANE

Breath of Life

Oil on Canvas

48 x 28 in.

The transition between life and death in reverse as the spirit of Lazarus is forced back into his lifeless body demonstrating Christ's command of the elements.

$14,500

MICHAEL MALM

Five Were Wise

Oil on Canvas

48 x 24 in.

Based in Cache Valley, Utah, Malm began his career under Del Parson at Dixie College, then at Utah State University. He has studied with a number of modern masters, including Richard Schmid, Burton Silverman, Daniel Gerhartz, Quang Ho, Ron Hicks, Michael Workman, and Jim Norton; and is now considered one of the leading figurative and landscape artists of the region. Here Malm interprets the Parable of the Ten Virgins (Matthew 25), showing the Five Wise Virgins, who gathered enough oil to accompany the Bridegroom, representing Christ at the Last Judgement.

Collection of the artist

LINDA CURLEY CHRISTENSEN

As My Father Hath Done

Oil on Linen

24 x 16 in.

Here Christensen depicts what she calls “The Good Shepherd holding His lamb.” Christensen is perhaps the most prolific of all LDS Temple artists. Her monumental landscape paintings often measure larger than 40 feet in length and provide the backdrops for sacred ordinances in the Palmyra, Nauvoo, Draper, and Brigham City temples, to name only a few. Her landscapes of the Holy Land and pioneer settings were also commissioned for the construction of the LDS Conference Center.

$4,800

MICHAEL COLEMAN

Mt. Sinai

Oil on Canvas

40 x 30 in.

Born in Provo, Utah and known for his award-winning Western scenes, Coleman’s paintings can be found in the National Wildlife Art Museum, the Buffalo Bill Historical Museum, the National Museum of Dubai, and various LDS Temples. Here the mountain believed by Christians, Jews, and Muslims to be the place where believers could witness the presence of God.

$14,500

TOM HOLDMAN

The Living Christ

Stained Glass

108 x 63 in.

This work is a tribute to the artist’s wife, and all those who have goals and dreams; how hard we worked to inch our way towards them. Richards is a among the most prolific and wide-ranging artists today, working in a variety of subjects (e.g. classical, allegorical, religious, contemporary life), media (i.e. oil, bronze, etchings), and in styles from the abstract to traditional. He has also become a mentor, supporting scholarships and education programs for young artists.

$100,000

PAIGE ANDERSON

Then May We Stand Still

Acrylic and Oil on Panel

48 x 48 in.

The title for this piece comes from a scripture in D&C 123:17. "Therefore, dearly beloved brethren, let us cheerfully do all things that lie in our power; and then may we stand still, with the utmost assurance, to see the salvation of God, and for his arm to be revealed." We have been taught that our small and simple contributions and devotions are what ultimately bring God's work and glory—our salvation—into fruition. While doing these things bring us closer to Him, we are also asked to stand still, to exhibit faith, and to know that He is God.

PAM BOWMAN

That Thy Days May Be Long

Mixed Media

70 x 20 x 14 in.

This mixed-media sculpture/installation strives to portray the earth as mother and as nurturer. The upper cabinet references a spice cabinet, an apothecary cabinet or a wedge of the earth. The jars on the upper shelf hold things found on the surface of the earth – seeds, bones, wool, rose petals, salt and bark. The next level contains soil, the next rock, and the lowest level gems and minerals. Each item – the jars and their contents, a clay bowl, a wooden spoon, eggs - symbolizes motherhood as well as the earth. My gathering of the items in the jars also signifies the historical work of women. Countless women from the past have gathered from the earth - foods for cooking; herbs for healing; fibers for weaving. Mothers have cooked, mixed and woven ingredients to make the substances of life throughout time. Each has a cadence in its making. The stirring rhythms feel familiar.

TIM BOYLE

Jonah

Ink on Stathmore Paper

30 x 12 in.

Saving someone swallowed by a whale is a perilous journey wrapped with waves, below miles of midnight ocean, an eight inch thick slab of skin, twelve inches of blubber, and five feet of bones clasping muscle and guts and gristle.

I have been where I drew Jonah. Somebody found me.

$1,800

RYAN S. BROWN

The Birth of a Creative Mind (To Think, To Dream, To Create)

Oil on Linen

20 x 30 in.

In today’s world of smart phones, Facebook and Twitter, the mental focus of many has been distracted by meaningless memes and fleeting entertainment that leads minds further from their potential for developing ideas of genius.

The idea for this painting began from a few quotes in a Louis L’Amour book of the American west in which the main character speaks about his time in the 1880’s. He tells of the hardship of the great move west and the impossibility of coming west with many possessions. If they had the luxury of bringing what were considered non-essential items of great weight such as books, they would necessarily be extremely judicious about which books they brought. Only the best books were allowed, those which could be read several times and learned from endlessly.

In describing the life and times in the book Bendigo Shafter, Louis L’Amoursays, “The books were opening the gates to a wider world, and in part I read for the love of learning and discovering. There was little time for it. To live was to struggle, and to keep our homes supplied with food and fuel was an unending task, allowing little time for considering things beyond the range of our daily lives”.

Later, it states, “For it was our way to go onward; to go forward and to try to shape our world into something that would make our lives easier, even if more complicated. Our struggle was for time. Our leisure was bought from hardship, and we needed leisure to think, to dream, to create.”

Thanks to the struggle of our ancestors, we can now live lives that are “easier, even if more complicated”. We appreciate an abundance of leisure that was once far more rare. The scarcity of leisure once made it precious, whereas, today its abundance allows for its futile squandering on insignificant trivialities.

This painting is meant to depict the importance of concentrating our minds and spending our time on things of great value, expanding our worlds into unknown areas and allowing for a greater development of our divine creative nature. It is a reminder that our leisure may be spent in thinking, dreaming and ultimately, creating.

$17,500

CASEY CHILDS

Take These Broken Wings

Oil on Linen

48 x 24 in.

The inspiration for this painting comes from the idea that the path before us is sometimes uncertain. And that we all have experiences and trials in life that set us back requiring time and patience. This young woman sits inside a windowsill looking out toward an unknown future. She is a symbol of heartbreak or neglect, alone in a dark space. The old, weathered home contrasts with her youth and innocence. With time and experience she will realized she can take her broken wings and learn to fly, free from the entanglement of past troubles, rising above to a new future.

Collection of the artist

CAITLIN CONNOLLY

Mothers Lessons

Oil on Linen

29 x 29 in.

Among the most sought after painters and illustrators of today, Connolly’s images are populated with children, mothers, and fathers interacting in the qoutidien. About the work, the artist said “One unexpected thing I noticed when I was finished was that all the mothers face was mostly or partially covered in gaze while children were all able to be seen. Felt representative of the sacrificial nature of motherhood to me. Also, the cyclical composition with the cyclical relationship of motherhood - giving and creating generations . . .”

NIKI COVINGTON

Come, I Will Make You Fishers of Men

Patinated Plaster

36 x 36 in.

This sculpture represents symbolically and figuratively through the call of Peter and Andrew, our continual struggle and triumph to forsake all and hearken to the Master. Embedded in the composition are sacred geometries that speak to the reciprocating role of Peter who will take the place of Christ as the leader of the church, as well as ideas that relate to ascension.

$12,500

ROSE DATOC DALL

What Lack I Yet?

Oil on Linen

14 x 18 in.

This painting "What Lack I Yet?" depicts the conversation between the rich young ruler and Christ, in which he asks the Savior, "What good thing shall I do, that I may have eternal life?" Jesus then enumerates the commandments, of which the young man responds, "All these things have I kept from my youth up: what lack I yet?" And Jesus says, "If thou wilt be perfect, go and sell that thou hast, and give to the poor, and thou shalt have treasure in heaven: and come and follow me." The rich young man finds himself at a crossroads, and this is the moment depicted, at that fork where he must make a decision. "But when the young man heard that saying, he went away sorrowful: for he had great possessions.” (Matthew 19:16-22). I find this question, "what lack I yet?" to be a very personal and relevant question to me as an individual. I ask this question nearly every day, in one way or other, as a mother, as a painter, as a disciple of Christ. And thus this image, like many of the images I paint, are from a more personal point of view. I am, and I think we all can be that rich young man, at the crossroads at any given time. As an LDS contemporary painter, I am refreshed by diversity and the atmosphere in which contemporary, as well as traditional artists have relevant voices in the interpretation of sacred art. I am gratified that self-expression can soar within the context of sacred imagery.

$1,600

EMILY CARRUTH FULLER

Young Christ

Oil on Panel

24 x 29 in.

Little is said of Christ during His childhood years, but I believe He knew of the mission and sacrifice He came to bear for each of us. We learn that, "he spake not as other men, neither could he be taught; for he needed not that any man should teach him" (JST, Matthew 3:25).

I chose to explore this age, around 10 or 11 years old to depict Christ in a moment of pondering. He holds in His hands a loaf of bread-- a symbolism of The Bread of Life.

$2,400

JETHRO GILLESPIE

Isabel

Photograph

48 x 48 in.

This image is one of my portraits of learning. I am interested in the complex phenomena of learning — especially from my perspective as a high school art teacher. I have come to value the dynamic interaction between the teacher, the curriculum, and the learner (student) as an ongoing process contingent on the motivations, personalities, and influences of the teacher and the student.

I am also interested in the idea of projection within the context of the learning. As a teacher, I am always projecting my own self into the process of learning, and likewise, students who participate in learning activities are projecting themselves. These projections layer into each other literally in this series of images.

In this portrait of one of my students, Isabel, I painted bits of orange onto her face and took a photo of her in class. I also built a 4'x4' patterned surface structure from reclaimed wood, which I consider a self portrait as a "square white Mormon". I whitewashed this surface to serve as a screen onto which I projected the initial photo of Isabel. I then took a photo of this projection, and played with it digitally, layering in the original photo in post production. The final photo has been printed large (also 4'x4').

$1,035

MICHAEL AARON HALL

Allegory of Abraham and Moses

Bronze

22 x 16 x 15 in.

This piece depicts Abraham and Moses and their posterity as great pillars supporting the very foundation of the word of God, including and primarily the Book of Mormon. The small figures on the bottom represent the peoples of the earth. Abraham and Moses are side by side with their wives as larger than life figures in their triumphs and sorrows. The small boy is symbolic of Christ, and the other female figures represent life (strength) and death (pathos).

$12,500

BEN HAMMOND

Joseph the Overseer

Bronze

20 x 10 x 5 in.

Joseph maintained his faithfulness amidst trial, hardship and abandonment. His earthly reward, due to his unwavering character, was to become second only to Pharaoh. His eternal reward is without end.

$3,750

JEFF HEIN

Cole, Portrait of the Artist’s Son

Oil on Panel

14 x 11 in.

Born in New York, Hein studied art at BYU and quickly established a career as an up-and-coming contemporary figurative artist; only to stop and reassess his craft. Hein dedicated himself completely to painting from life, and with this new approach, became one of the most admired portrait artists in America, and a painter of monumental religious works that can now be found in several LDS temples and publications.

Collection of the artist

EMILY KING

Pieced Together

Painted and Cut Paper

24 x 16 in.

Few things in this world can compare to the kind of love a parent feels for a child. It's a transformative love that teaches and perhaps gives us a glimpse of the kind of divine love we all are potentially capable of giving & receiving.

JUSTIN KUNZ

Days of Purification

Oil on Linen

30 x 36 in.

Under ancient Jewish law, a woman having given birth was to remain at home with the newborn child for a period of time for healing and observance of purification rites. For the new mother Mary and her baby Jesus, I believe this was a time spent forming sacred and tender bonds.

$8,500

HOWARD LYON

Thy Will Be Done

Oil on Linen

14 x 11 in.

I have portrayed Christ after the moment He has asked if the bitter cup might pass, but then surrendered Himself to the will of the Father. He enters into Gethsemane to make the sacrifice that will open the doors to the kingdom of God for all of Heavenly Father’s children. The Atonement is very real for me. It lies at the center of my testimony. I have felt peace and love come from an external source and affect change within me. The Atonement is real. Christ lives

$2,300

JENEDY PAIGE

Holding Back

Oil on Panel

24 x 12 in.

“Or what shall a man give in exchange for his soul?” (Mark 8:37)

Christ tells his followers that they must lose their life to save it, and then asks this poignant question. Are we holding on to something that is keeping us from Him? If we wish to really come unto Christ then we must sacrifice out of our lives those things that are keeping us from progressing towards Him. They might be big things, they might be small, but one by one sacrifices are made until, we can, as Paul counseled, “present your bodies a living sacrifice” (Romans 12:1) and everything we have and everything we are has been placed on the altar.

$3,200

JEFFREY R. PUGH

Wrong Side of the Fence

Oil on Canvas

36 x 24 in.

This painting is about repentance. It is about realizing that when we are on the wrong side of the fence, the gate, while it may be closed, certainly isn’t locked. With some effort, we can find ourselves where we ought to be.

Collection of the artist

J. KIRK RICHARDS

Goddess Dreaming of Her Temple in The Woods.

Oil on Linen

52 x 52 in.

This work is a tribute to the artist’s wife, and all those who have goals and dreams; how hard we worked to inch our way towards them. Richards is a among the most prolific and wide-ranging artists today, working in a variety of subjects (e.g. classical, allegorical, religious, contemporary life), media (i.e. oil, bronze, etchings), and in styles from the abstract to traditional. He has also become a mentor, supporting scholarships and education programs for young artists.

KATHERINE RICKS

Poured Out Like Water

Oil on Panel

36 x 24 in.

This painting was inspired by Psalms 22:14. This verse is part of a Messianic Psalm that has reference to the Savior’s prayer in the Garden of Gethsemane. As I read, I couldn’t help but feel a personal connection to the words of the scripture. I thought of the prayers we might say as we each face our own metaphorical Gethsemanes—those times when we feel we have nothing left to give, and we want to shrink that we might not drink that bitter cup (D&C 19:18). We think, that when something is poured out, it is gone--but with God, that is not so. If we follow the Savior’s example, we will remember that all things are possible to our Father in Heaven. We are finite, but He is infinite. We are broken, but He can make us whole. We are weak, but He is our strength. We are lost, but he is mighty to save.

$2,500

COLBY SANFORD

Teaching About Light & Dark

Acrylic on Panel

40 x 30 in.

I'm thinking a lot about the beauty of everyday - there is a type of elevation and sacredness that comes with repetition. A soul definition of "home" is that familiarity that comes with doing and being, time after time.

$2,790

MARY SAUER

Christ in the Red Robe, Sketch

Graphite and Pastel on Paper

12 x 9 in.

This drawing is the preparatory sketch for a painting of Christ in the red robe as he descends from heaven at the second coming. I wanted to catch the magnificence of the moment when he lands on the earth, uniting with his people.

$500

TYSON SNOW

That Man May Be

Bronze

43 x 32 in. each

That Man May Be, is an extension of a previous series of low relief panels I sculpted Titled, White Fruit. Just as the figures in the White Fruit panels are meant to represent all of us (sons and daughters of Adam and Eve), so to are the figures of Adam and Eve seen in That Man May Be. The composure of Eve, the angst of Adam represent all of us in a way; They are the ultimate archetypes. Difficulties and decisions that can feel like a choice between life and death face all of us.

The split second event, I imagine the plucking of the fruit from the tree causing a lighting shock through the universe. An action that would set into place the need for the Atonement (another action) which caused "the Heavens to be veiled; and all the creations of God mourned; and the earth groaned". (Moses 7:56)

Adam and Eve’s moment of action also caused a quickening that would end their innocence, a kind of rebirth, into mortality. They would now bring sorrow, suffering and death to not only themselves but to all humanity. Fortunately, there is also hope which is why I scribed the symbol into the backgrounds of the pieces.

The symbol: there are symbols within the symbol. Firstly it is a stylized lotus flower. Anciently the lotus was understood as a symbol of resurrection. that motif can be seen in some LDS temples. More recently it is seen as a symbol of the Christian life. The Lotus flower is beautiful flower that grows above murky waters. We are taught to live in the world but not of it.

The lotus flower is within a half circle. I like to look at that as a rising or setting sun, speaking to the work of redemption commencing as paradise is lost. The dawning of a new day, life and death, and speaking to the age we live in… The last or latter days. There are right angles referring to priesthood power at the helm of it all

The vertical line that runs up the center of the flower and into the branches and its fruit is a reminder to always look upward to keep out thoughts heavenward

$35,000

BRYAN MARK TAYLOR

Road to Mt. Pisgah

Oil on Linen

24 x 30 in.

Painting depicts a historic location on the mormon trail near Mt. Pisgah, Iowa. Located on Bob Brown's property, there are still remnants of the early pioneers who occupied the area on their trek west. This piece was part of the "Saints at Devil's Gate" exhibit held in 2016 at the BYUI Museum of Art.

$7,950

JUSTIN WHEATLEY

It Fell Not

Acrylic

35 x 35 in.

Painting images of homes has always been of great interest to me. We are all familiar with the scripture passage of Matthew 7: 24-27, which tells the parable of the wise man who built his house upon a rock. As simple and straightforward as the message is, it has confounded any attempts of visual interpretation I have come up with for years. I was recently thinking about this problem when it crossed my mind that when Adam and Eve built an altar, they used rock. The idea of depicting a house on a draped rock intrigued me. The rock referred to in the parable is clearly our Savior and his teachings. By placing the drape over the rock, it becomes a reminder of the sacred nature of our relationship with Him.

$2,800

CLINTON WHITING

With

Sumi Ink, Acrylic, and Gesso on Canvas

48 x 36 in.

This piece is part of a series called "Abiding Embrace". The series deals with the idea of reuniting with ones spouse in the next life. The project considers LDS views of eternal marriage and elements of Etruscan and Egyptian burial traditions.